«La aparición de nuevos soportes y nuevos productos en la radio y levisión, unidos a la aparición de un nuevo modelo de consumo basado en la demanda, la interactividad y la convergencia multimedia, condicionan igualmente los perfiles de los profesionales de estos medios, perfiles cuya característica básica es la polivalencia y la policompetencia» (Peñafiel, 2007: 14)
«Mas não é tarefa fácil entender como o rádio, e até mesmo a TV, se configuram atualmente e qual seu papel no futuro diante do avanço das novas tecnologias. Hoje temos, além das formas tradicionais de rádio e TV, novos modelos advindos das tecnologias digitais. A realidade que se avizinha é a convergência das mídias, isto é, rádio, televisão, jornal, revista, livro, telefonia e tudo o mais que se entende por processo de comunicação convivendo num mesmo suporte, a internet. Um dos mais intrigantes objetos de pesquisa é se haverá uma linguagem específica para cada um destes processos comunicativos, ou se, no futuro, tudo isso será uma coisa só. Certamente que se trata de um campo profícuo para investigações tanto na área da linguagem, como da comunicação» (Prata, 2008, 54)
«As technology moves at lightning speed, it is increasingly difficult for radio companies (and all businesses) to track and respond to it - much less get ahead of it. When you consider that iPods, Google, YouTube, and MySpace have only been around a few short years, it can be mind-boggling to even think about what we’ll all being doing in 2010. But that’s precisely what we’re paid to do. Because as radio has learned - the hard way - continuing the same repetitive motions leads to stagnation, and ultimately being usurped by new media, and perceptions that we’ve become passé.»
JACOBLOG, When Waterfalls Go Up - Part 1 18/06/08
«Simon Waldman, Guardian director of digital publishing, says: “Over the last year there has been a wave of spectacular growth in online advertising. Charging for content is less of a critical success factor than two or three years ago. This really is an advertising market now.”» (BLACKHURST, 2006: 55
«The most battlefield for a public broadcasting is the new media platforms that offer interactivicty and a more targeted supply of programmes. Although the commercial sector has tried, and continues to trym to limit public broadcasting to the provision of a free programme offering via open, analogue networks, both national and EU politics allow public broadcasting to operate on new platforms as well, provived that the new services fit with the public remit and do not distort competition» (Bardoel e d’Haenens, 2008: 342)
«Thanks to nanotechnology, you will be your own radio receiver. Researchers are already experimenting towards this end. Last year, wired.com reported: 'A scientist has unveiled a working radio built from carbon nanotubes that are only a few atoms across, or almost 1,000 times smaller than today's radio technology. The nanotech device is a demodulator, a simple circuit that decodes radio waves and turns them into audio signals. By hooking the decoder up to two metal wires, University of California at Irvine professor Peter Burke transmitted music via AM radio waves from an iPod to speakers across the room.' According to a recent article at dailymail.co.uk, "Children will learn by downloading information directly into their brains within 30 years, the head of Britain's top private schools organization predicted..." Someday, you will have the option to purchase a "bio-telligent" implant which will quietly exist in your body until you decide to trigger it. When you do, this "nano-radio" will connect with your auditory system and be ready to receive content impulses which will be translated into sound that will play inside your head in the same way headphones create sound for us now. (...) We won't have digital files, hard drives, CDs, memory sticks, or any of the storage media we use today. Instead, all music, speech, and video that has ever been cataloged will be universally available at-once and from anywhere (...) Your nano-radio will learn what you like, an idea pioneered by the Music Genome Project and Pandora. Someday your children, or their children will acquire the ultimate control over their audio entertainment. Marshal McLuhan was a Canadian scholar and philosopher who famously said, "The medium is the message." Our technology will one day make it possible to amend that statement by adding "The medium is the message…and you are now the medium."» (fonte: DEITZ, Corey, «What Radio Might be Like 50 Years From Now», About.com, 2/06/08)
«Once content impulses are requested and used by a person’s nano-radio, the impulse will leave behind a "memory" of being accessed which the nano-radio will be able to interpret and use for offering further suggestions of audio, should the a listener wish a continuous genre of music. Your nano-radio will learn what you like, an idea pioneered by the Music Genome Project and Pandora. There will be no record companies. There will be no need to download music files from the Internet. There will be no royalty issues. Artists will sell their content directly to users. Requests for music or audio with active copyrights will be noted by the system and artists will be compensated automatically based on a percentage formula that draws from a fund created and maintained by the users of nano-radio receivers. Someday your children, or their children will acquire the ultimate control over their audio entertainment. fonte: «What Radio Might be Like 50 Years From Now», By Corey Deitz, About.com, 2/06/08
DEITZ, Corey, «What Radio Might be Like 50 Years From Now», About.com, 02/06/08 [http://radio.about.com/od/opinionpieces/a/aa060208a.htm]
Com a internet e a fragmentação da oferta, o conceito de audiência, de grandes massas, nunca mais será o mesmo. A oferta está dispersa, o utilizador já não tem 50 opções (nem 500) mas 50 mil. Irá gostar mais de uns do que de outros, mas nunca com a fidelização anterior; estaremos perante um conceito de fragmentação de audiências, que obrigará a novos modelos de negócio (oferecer muitos canais, e não um) e mais atenção da publicidade - que terá de encontrar nichos dirigidos (vai ter muito mais trabalho de procura e análise)
pode beneficiar? Pelo menos ao nivel dos podcasts...
(conclusão):
« New iPod models Continue To Fuel Growth of Portable MP3 Players: The introduction of the iPhone and new iPod models continue to propel growth. Nearly four in ten Americans now own an iPod or other portable MP3 player. Continued growth and ubiquity means media companies need to have a podcast and iPod/MP3 player strategy.»
«Infinite Dial 2008», Arbitron e Edison Media Research, Abril 2008 [http://arbitron.com/downloads/digital_radio_study_2008.pdf]
«When public radio has to consider making its programs shorter because young listeners won’t listen, we officially have a documented attention span problem. (...) Break the programming down into smaller chunks. That is, one hour of music is fine if you’re in the mood to listen for an hour. You’ll rarely find a young person doing that. In the past radio worked well with block programming -- variable length shows at different times. Growing up I remember "the adults" listening to WOR, New York that had, say, a 15-minute newscast, then a 45-minute program with the legendary Jean Sheppard. There was a different standard for program length. You just had to stay tuned. Maybe it’s a 45-minute show. Maybe a 55-minute program on health. The all-night show tended to be one long block figuring that the station was providing company for night owls. Back to the future. Even a top 40 station can break into a five song countdown anywhere on its clock -- say, featuring the five newest releases in the genre.»
The Attention Span Problem Inside Music media, 6/05/08
Por muitos que estudos digam que «
é importante esperar para perceber primeiro se existe realmente uma fadiga do iPod e, mais importante, se isso se reflectirá num regresso (ou numa descoberta) da rádio
A necessidade de um editor (de um gatekeeper) poderá ser anulada pela informática na rádio musical - é possivel estabelecer prioridades, grelhas, pré-requisitos que, uma vez cumpridos, irão determinar por exemplo o que é que cada um pode definir para uma antena. Imagine-se uma emissão (hertziana ou streaming, embora no primeiro caso seja mais dificil de conceber) em que a música que passa é a mais votada pelos utilizadores.
Da mesma forma, se falamos em personalização (playlists) o editor - alguém que tem a última palavra sobre o que vai ser transmitido - é desnecessário. E se a ideia é personalização de conteúdos, mesmo para a rádio de palavra, este editor não faz sentido.
Onde o editor tem de aparecer é numa emissão de palavra, mesmo que com contributos dos utilizadores, porque é preciso hierarquizar, definir, escolher - não entra qualquer coisa...
Uma das vantagens deste estudo com a geração iPod é que eles, não conhecendo a rádio (ou não tendo estabelecido uma relação duradoura com ela) não se sentem ligados a ela, não estranham as mudanças, as diferenças, a propria 'descaracterização'.
Mas como entender o mesmo relativamente a gerações pós-35 anos, aquelas que cresceram a ouvir rádio?
«(...) there was limited interest in becoming an active user of the interactive tools made available. Another possibly - yet to be verified - thought is that using a web radio site as a place from which music can be downloaded transforms the image of the site to that of a database with a specific content and, hence, strips the site of its identity as a radio station. Listeners of web radio may expect web radio to provide traditional radio programming along with the availability of a number of multimedia tools. This aspect is suggested by Lind, Medoff and Rarick (2001) in their study; they reported that listeners appreciated traditional radio functions as well as the new capabilities pro. provided by the Internet.» (van Selm, 2006: 273)
«Girls continue to be heavier users of electronic communications than boys. According to the Pew study, 44% of teen girls send text messages daily, compared with 28% of boys. And girls were twice as likely as boys to send messages daily through social networking sites (31% compared with 16%). “The role of technology in teen girls’ lives cannot be underestimated,” said eMarketer senior analyst Debra Aho Williamson. “Because they use an array of communications devices on a daily basis, marketers must think about extending their messaging to a variety of platforms to effectively reach them.”»
«US Teens Compose Constantly Online», eMarketeer, APRIL 25, 2008
O estudo Radio Next perguntou aos inquiridos qual a mais-valia da rádio AM/FM relativamente a outros concorrentes audio.
40 por cento responderam a facilidade/conveniência da distribuição, sendo que entre os 18-34 a afirmação ainda é mais clara (46%); em segundo lugar aparece os beneficios oferecidos pelos conteúdos exclusivos (30%), menos valorizados pelos 18-34, depois os beneficios dos conteudos não-exclusivos (20%) e em ultimo lugar o argumento da relação com a localização (13%) (slide 17).
Leitura a fazer: «For the moment at least, terrestrial radio continues to be valued by most Americans. This value hinges not so much on content but on a distribution advantage that may soon disappear. This points terrestrial radio in two strategic directions: 1. Aggressively develop and secure unique content. 2. Use its current distribution advantage to drive audience and advertisers to new platforms.» (slide 29)
«A construção de programas de música leva a duas consequências: criação de redes sociais que trocam ficheiros com músicas, especializando o grupo com estéticas e gostos próprios e de grupo de fãs que se pode fechar; abandono da escuta da rádio, por ser um sistema orientado do programador para o ouvinte; actualização permanente, possível num período da vida (final do secundário e durante os primeiros anos de universidade), mas de menor intensidade no período seguinte (profissão, família), o que torna o gosto estético adquirido rapidamente obsoleto.» (Rogério Santos, UM PROJECTO DE PÓS-DOUTORAMENTO – QUE ME LEMBREI DE ESBOÇAR HOJE MAS NÃO VOU FAZER (2), 9/04/08) (ou seja, até que ponto estes comportamentos, identificados como sendo típicos da geração iPod, são meramente geracionais, conjunturais, ou perdurarão, estruturalmente?)
«Does online crowd-sourcing really produce dramatically different playlists from the traditional market research that radio stations engage in and that listeners love to whine about? »
(ou seja, até que ponto as playlists criadas em serviços de streaming são - feitas as contas - muito diferentes do mainstream? se sim, isso mudará alguma coisa na programação (isto é, poderão servir para ajudar a industria)? se não, o que concluir?
«It's at times like these when my thoughts go to the scene of a General smiling in a foxhole with a subordinate who asks, "Sir, we're totally surrounded by the enemy. Yet, you have this big smile on your face. Why?" The General replies quickly, "Because now I can attack in any direction!"
Radio industry executives are finding themselves cowering in foxholes these days. They're embattled on multiple fronts, yet carry no strong plan of attack for any direction. While there's plenty of buzz and a few attempts to move where the crowd is going, there are no outstanding success stories to report. Radio industry trades carry very little news about internet initiatives, either locally or on a national/regional scale.
Radio Industry Has Little Time to React Audiographics Ken Dardis, 3/03/08
(fecha - o segundo choque?)
«Radio survived TV's rise albeit in a whole new incarnation, because it served a convenient role in our daily lives and because it helped us believe in the American myths of mobility, individuality, and can-do savvy. Radio isn't what it used to be, but it never really was. Despite its troubles, radio is as much about the future as it is about the past. That future lies where. Todd Storz, Hunter Hancock, Hal Jackson, Cousin Brucie, Jean Shepherd, Bob Fass, Tom Donahue, Lee Abrams, and so many others found their inspiration - in the voices of those who open their souls into a microphone, and in the imaginations of those who feel compelled to listen.» (Fisher, 2007: 310)
«In a nation of lonely people, when we hear music that moves us, or a political argument that sways us, or simply another human voice that tells us a story, we find company.» (313)